In this Spring Festival file, which movie did you choose**?
When families gather together, the competition in the film market is particularly fierce, with some films soaring at the box office and others falling into bottlenecks.
Jia Ling successfully broke through with "Hot and Hot" and became the biggest winner of the word-of-mouth box office double harvest in 2024.
Shen Teng and Han Han collaborated again, and "Flying Life 2" also achieved quite outstanding results.
Let's Shake the Sun Together and Mr. Red Carpet announced the postponement of their releases.
Despite knowing that the competition was fierce, he decided to rise to the challenge, but in the end the performance was not satisfactory, so he decided to postpone the release and choose to back down if it failed, a sudden decision that surprised the audience.
Although Article 20 has a good reputation, for Lao Mouzi, who won the championship in the last Spring Festival and National Day in a row, the box office performance is a little unbalanced compared with the quality of the movie.
In my opinion, whether it is a comedic element that makes people laugh or a deeply touching plot, "Article 20" is undoubtedly an excellent masterpiece. Especially Zhao Liying's superb performance in the film really caught my eye.
In this movie, the demeanor of the national teachers is everywhere, and their every shape and action is full of the real atmosphere of life, as if they are the people they see around them.
They don't need words, as long as they appear in the same picture, they can immediately form a full group portrait.
Hao Xiuping, played by Zhao Liying, she is like a thorn, piercing deeply into the hearts of the audience.
A faded outfit with a slightly revealing white undershirt, baggy pants and old shoes piece together a realistic and touching character image.
The child's short sleeves are also very old, showing the poverty from head to toe.
The superb performances of the actors already made me feel distressed without movement.
Although this bag only appears in one shot, it is full of age.
Imagine a dirty, worn-out backpack, and you might think about what kind of market you can buy such a bag with a story in it.
Zhao Liying's performance perfectly interprets the role set for her by director Zhang Yimou.
When she saw the heroine changing the clothes she was wearing to Hao Xiuping, her ignorant expression and eyes full of surprise and caution made people feel distressed.
Hao Xiuping resolutely decided to kneel and plead in order to get her husband's friend to agree to be a witness.
This move made Zhao Liying's tattered clothes even more eye-catching.
The most shocking thing is undoubtedly the scene where Hao Xiuping was violated.
Zhao Liying's hair was dragged messy, her face was scarred, and the marks on her neck and collarbone were shocking.
The collar of her blouse was torn loosely, and I was even worried that the next second would be censored.
Her embarrassed appearance at the moment was not cared for, and she didn't even have time to wipe the nosebleed, but just gestured to her husband, indicating that she had lost hope in life.
It's heart-wrenching, it's heart-wrenching.
The audience was pleasantly surprised not only by Lao Mouzi's detailed portrayal of the characters, but also by his accurate grasp of the details of the scene.
In addition to the characters, the furnishings and state of the home are important elements to show the protagonist's family background.
And Hao Xiuping's home, its authenticity makes people feel hopeless.
It was a dilapidated brick house with a rusty lock that seemed to break down with a single push.
The windows around him had long been broken by sharp objects, and they were covered with glaring letters, and the drying racks next to them were dilapidated, and the small chairs in front of the doors looked tattered.
At home, you can also feel the breath of life. For example, pots and pans that have been eliminated, as well as various spices that have been used.
And the marks on the cutting board, as if it had not been used for several days, are dry and textured.
Although there are few shots of Hao Xiuping's home in the movie, these details make the character more three-dimensional and show the poverty she lives in.
When Zhao Liying experienced life outside the play, she also presented her role in plain costumes.
This is inseparable from the joint efforts of the director and the actors to present such a realistic effect to the audience.
Article 20 does not only focus on the poverty of Hao Xiuping's family, but also depicts the stories of other poor families, such as Zhang Guisheng, who lost his life due to petitioning, Liu Wenjing, who received bad retribution, and the residents of Hao Xiuping's husband's village.
Although they are not directly portrayed in poverty, their plight is revealed everywhere in detail, fully demonstrating Lao Mouzi's profound narrative skills, which is worth learning from many directors.
The audience is tired of the "fake poor" in domestic works, and the real and powerful poor should have more representation in domestic movies and TV series.
For example, although the heroine of "Fearless" in several urban dramas of CCTV has huge debts, she is still able to own luxury cars, mansions and rich food, and she also uses one-third of the money from the sale of the house to fight a lawsuit that she is bound to lose.
This can't help but make the audience question, do these "fake poor people" really understand the lives of the poor?
You're so extravagant today. This episode made the audience can't help but laugh out loud.
Although the pair is so poor that they can't even pay the rent, they feel luxurious to eat two eggs, and they live in a luxurious area, with a kitchen, a bathroom, a bedroom and a living room, plus a large open-air balcony.
But they still feel that eating two eggs is a luxury, and one can't help but wonder what they are pretending.
Through the observation of the state of the poor in the play, we can understand the degree of understanding and mastery of life by the director and screenwriter.
In real life, many office workers can spend a lot of money on a car, but when faced with credit card repayments, they can only rent a house in the city center, or even choose a small hot pot in their daily diet, or sell miserably in the bathtub to seek sympathy.
However, these so-called "poor" lifestyles have actually been surpassed by the characters in the play.
I was amazed that the film "Article 20" succeeded in presenting a tragic story in a unique comedic way.
The film is rich in connotation, with an in-depth look at the current state of law and society, aiming to attract the attention of the public.
The characters in the movie, whether good or evil, have a clear logic of behavior, and every word and change in their expressions makes the audience deeply immersed in it and unable to extricate themselves.
A good director and screenwriter not only needs to have creative ability, but also needs to know how to present the story, so that the audience can truly feel the life of the poor.
They don't deliberately sell miserably to win sympathy, but let the audience understand for themselves through the plot.
This is exactly what the director is really capable of. Those who can only create "fake poor" should watch more excellent film and television dramas, otherwise they will be ridiculed by the audience.